ALMA MATER STUDIORUM - UNIVERSITÀ di BOLOGNA
SCUOLA DI LINGUE E LETTERATURE, TRADUZIONE E
INTERPRETAZIONE
SEDE DI FORLÌ
CORSO di LAUREA IN
MEDIAZIONE LINGUISTICA INTERCULTURALE (Classe L-12)
ELABORATO FINALE
I Colori nelle Espressioni Idiomatiche Inglesi ed Italiane
CANDIDATA
RELATORE
Elena Graziani
Prof.ssa Rachele Antonini
Anno Accademico 2014/2015
Sessione prima
INDEX
1. Introduction
2. Language and Culture: Two sides of the same coin
1. Language and colours: how languages divide their colour-spectrum
2. Culture and Colours: colours as culturally bound symbols
3. Figurative meaning in English and Italian colour idioms
1. What are idioms?
2. White
3. Black
4. Red
5. Green
6. Yellow
7. Blue
8. Brown
9. Pink
10. Grey
11. Purple and Orange
4. Case study: the Lion King
5. Conclusion
References, Web References and Films
1. Introduction
The purpose of this work is to analyse the figurative and metaphorical meanings of colours in
English and Italian, focusing on the analysis and comparison of colour idioms in these two
languages and cultures. The study starting point is the assumption that language and culture are
inextricably related: they influence and modify each other, and both contribute to shaping our
world-view.
The first part of the paper (section 2) aims at highlighting the close relation between language and
culture. Hence, it focuses on the Sapir-Whorf hypothesis of language as a filter through which
reality is perceived and decoded (1929), and on Berlin and Kay’s study (1969) that identifies a
connection between culture and colour-spectrum division in language. Cultures attribute figurative
meanings to colours, making them culturally bound symbols. Consequently, attention will be given
to some examples of the different messages that colours convey in the world.
The metaphorical meaning of colours is dealt with in detail in section 3 where English and Italian
colour idioms are presented, compared and contrasted. Each colour is introduced by its figurative
meaning in the two cultures. It is also shown whether and how the symbolic meaning is reflected in
idiomatic language. The approach to English and Italian idioms is contrastive in order to show cases
of direct correspondence (i.e. same colour, same meaning), partial correspondence (i.e. different
colour or different idiom but same meaning) and cases peculiar to each language that lack of an
idiomatic equivalent in the other language.
The last section recapitulates some of the aspects studied in the previous sections. The example
taken from the animated film The Lion King shows one of the various cases of difference between
the two languages and cultures under examination. In particular, it exemplifies the missing
correspondence in blue figurative meaning: a symbol of depression in English and of calmness and
religiousness in Italian.
2. Language and culture: Two sides of the same coin
Language and culture are not two distinct entities but two sides of the same coin. They are so
inextricably related that the one could not exist without the other. In other words, language shapes
culture and culture manifests itself through language.
But what is culture? Culture is “whatever a person must know in order to function in a particular
society” (Wardhaugh, 2006: 221). It is therefore a shared and widely accepted system of values,
beliefs and behaviours for interpreting reality and organizing experience. Or, in Hall's words
“culture is the way of life of a people, the sum of their learned behavior patterns, attitudes, and
material things” (Hall, 1973: 20). Accordingly, culture is both the key element that distinguishes
one group of people from another and the crucial factor in bonding people together. Culture also
contributes to making a group of people a united and unique entity by means of the same “mental
programs [or] software of the mind” (Hofstede, Hofstede and Minkov, 2010: 5).
As far as language is concerned, it is not only the manifest element of culture, but it is also and,
most importantly, the filter through which reality is perceived, processed and interpreted. The
structure of a language, i.e. its grammar and vocabulary, affects how its speakers experience and
view the world (Wardhaugh, 2006: 222). The linguist Sapir and his student Whorf have thoroughly
studied this function of language as the screen to reality. Their claims constitute the Sapir-Whorf
hypothesis, which suggests that language is “the shaper of ideas, the program and guide for the
individual's mental activity” (Whorf, 1956: 212-14). Hence, speakers of different languages have
various world-views since they process reality under the influence of their native tongues' different
structures.
We dissect nature along lines laid down by our native languages. The categories and types that we
isolate from the world of phenomena we do not find there because they stare every observer in the
face; on the contrary, the world is presented in a kaleidoscopic flux of impressions which has to be
organized by our minds – and this means largely by the linguistic systems in our minds. We cut
nature up, organize it into concepts, and ascribe significance as we do, largely because we are parties
to an agreement to organize it in this way --- an agreement that holds throughout our speech
community and is codified in the patterns of our language. The agreement is, of course, an implicit
and unstated one, but its terms are absolutely obligatory; we cannot talk at all except by subscribing
to the organization and classification of data which the agreement decrees. (Whorf, 1956: 212-14)
This means that if one language makes a distinction that another does not make, the speakers of that
language will be more aware of certain subtleties and will be more used to seeking those nuances in
the environment in which they live. For instance, speakers of inflected languages are conscious of
gender and number distinctions and this awareness may have consequences for both their cognitive
and cultural development. Likewise, if a language is more accurate than another or has words that
the other does not have, the speakers of the first language will find it easier to describe and talk
about those concepts (Whorf in Wardhaugh, 2006: 223-25).
Therefore, language and culture are not two distinct notions since they both play a pivotal role in
building up our perception of the world. Their close relationship becomes central when dealing with
colours and their cultural and figurative meanings.
2.1 Language and colours: How languages divide their colour-spectrum
Colours are part and parcel of humans' perception of the world for two main reasons. First, our
world is a word of colour. Second, all human beings with normal vision can perceive them. Hence,
colours are omnipresent in every culture and are universally recognized (Philip, 2006: 60).
However, every culture differentiates its colour-spectrum in accordance with the scopes of its
language and society. The Navajos, for example, employ the same term to identify both brown and
grey and do not distinguish blue from green at all because this difference is not necessary for their
communicative needs (Roth, 1996).
Although not all cultures name all colours and although the colour-spectrum division differs from
language to language and culture to culture, certain patters seem to be universally shared. According
to Berlin and Kay (1969: 2), all languages make use of 'basic' colour terms. A colour term can be
defined as basic if it is a single word such as blue or yellow, it is not combined to any other world
as would be the case of light blue or pale yellow, and it is generally used in every day's language
such as red.
They found that if a language has only two colour terms, these would be the equivalents to black
and white. If a third term were added, this would be red. Green and yellow would come after in no
particular order. Then comes blue followed by brown. Finally, it is the turn of grey, pink, orange
and purple in no specific order. Therefore, there exists a list of eleven basic colour terms common,
up to some extent, to the world's languages and their frequency of occurrence is fixed (Berlin and
Kay, ibid.: 4).
Figure.1 Implicational Hierarchy of basic color terms (Berlin & Kay, 1969: 4)
The researchers also found that the more scientifically and economically developed a society is, the
more its colour vocabulary is extended. On the other hand, communities that show little
technological development employ fewer colour terms. The Tiv of Nigeria, for example, have three
terms, the Hanunóo of the Philippines have four; and the Burmese have seven (Wardhaugh, 2006:
235). As society advances and changes occur, it becomes vital for people to differentiate within the
colour-spectrum in order to adapt their language to their new society and to fulfil its new
communicative needs (Berlin and Kay in Wardhaugh, 2006: 235-36).
2.2 Culture and colours: colours as culturally bound symbols
Colours are not mere visual phenomena but powerful images capable of conveying meaning and
emotions. This communicative aspect of colour is due to the fact that humans have always attached
meanings to it, making it a symbol. Every culture has attributed to colour values and connotations,
some of which are universally shared while others differ significantly (Adidam & Reizgeviciute,
2005).
In China, for instance, black and red stand for good luck and happiness and consequently these are
the colours of wedding cards. In Western countries, those wedding cards would be rejected or
judged as bad taste: black being the colour typically associated with mourning, death and emptiness,
and red with extreme impulses, passion, violence and anger. Likewise, our traditional white and
silver or gold wedding cards would suffer the same faith in China since white symbolises death and
it is the traditional colour for mourning. In western societies, on the other hand, white stands for
purity and goodness (Morton, www.colormatters.com).
Therefore, the strong communicative impact of colour is not to be neglected in global
communication. One field where colour is carefully studied and examined in order to convey
meaning and create assumptions is marketing. Marketers make wise use of colour to “create,
maintain and modify brand images in customers' minds” (Madden, Hewett & Roth, 2000: 90).
Exploring the meanings associated with colours becomes vital for firms that are to choose their logo
or the colour of a packaging since colour determines a product's desirability. When the American
brand of toilet cleaner changed the colour of TY-D-Bol's toilet bowl cleanser bottle from light blue
and green to white and black sales dropped by 40 % . Blue is the colour associated with water,
consequently it conveys the meaning of cleanliness (ibid, 91-92).
The analysis of colours' meanings is even more central if firms aim at exporting a brand across
international markets (ibid: 90). In USA, for example, orange denotes either cheapness or value for
money, while for the Hindus it is the most sacred colour. Therefore, an orange logo will have a
different association in the USA and in India (Adidam & Reizgeviciute: 2005). Wagner, the creator
of the Wagner Color Research Institute, advised Wienerschnitzel, a hot dog restaurant with 350
locations in the United States, to add orange in their buildings decorations in order to convey the
meaning of affordability. After the introduction of orange, the chain reported a 7% increase in sales
(Lane, 1991)
The meanings associated with colours are thus culturally bound. Every culture attributes to colours
specific symbolic and figurative connotations, as shown by the examples above. The connotative
character of colours pertains to every aspects of culture: from its customs and practises to its
marketing strategies. However, colour figurative meaning is especially predominant in idiomatic
language.
3. Figurative meaning in English and Italian colour idioms
This chapter will focus on the figurative meanings of colours in English and Italian. Each of the
eleven basic colours will be analysed in terms of symbolic meaning and of similarities and
differences in connotations in the two cultures studied. It will be also highlighted how these
culturally bound meanings are reflected in language, namely in English and Italian colour idioms.
Idioms will be dealt with in a contrastive approach in order to show both the direct correspondence
between English and Italian colour idioms and missing correspondence. Therefore, it will result that
for every English idiom there are three possible scenarios in Italian or vice-versa: direct
correspondence (same colour and same meaning), partial correspondence (different colour or
different idiom but same meaning) and no correspondence, making translation more challenging.
The table below exemplifies some of the cases that will be analysed in detail in the following
sections.
Table 1: Examples of direct, partial and no correspondence between English and Italian colour
idioms
Direct
correspondence
Partial correspondence
No correspondence in No correspondence
Italian
in English
The black sheep of
the family
La pecora nera della
famiglia
Out of the blue
Di punto in bianco
White elephants
To roll out the red
carpet
Stendere il tappeto
rosso
To be in the red
Essere al verde
To marry
purple
To have green fingers
/ to have a green
thumb
Avere il pollice verde
To catch someone redhanded
Prendere con le mani
nel sacco
Red in tooth and claw
into
Passare una notte in
bianco
the Un giallo
Cronaca nera /
cronaca rosa
.
3.1 What are idioms?
Idioms encompass the essence of the close relation between language and culture. They are
powerful communication tools capable of conveying meaning in a direct and efficacious way
providing the addressee with a clear image or feeling, which strikes them and captures their
attention. Additionally, idiomatic expressions are the product of a specific culture, and therefore
they are a precious means to explore it.
Given these first two characteristics of idioms, it is plausible to argue that they are language- and
culture-specific items. More specifically, idioms are fixed combination of words that originated
from dead metaphors (Larson, 1984: 142). Hence, their meaning cannot be literally understood.
Baker (1992: 63) defines idioms as “frozen patterns of language which allow little or no variation in
form and […] often carry meanings which cannot be deduced from their individual components”.
Examples of idioms are expressions such as: 'to bury the hatchet', 'to be over a barrel', 'pie in the
sky' etc. Baker also points out that in normal communicative circumstances, speakers do not alter or
change idioms, namely they do not modify the word order nor do they delete, add or replace a word.
Alterations only occur when the speaker or writer aims at making a joke or a play on words.
Accordingly, idioms are established, widely recognized patterns, which use language in a non-literal
and metaphorical way (Wright, 1999: 7).
3.2 White
White is the colour traditionally associated with light. Thus, it projects positive values including
clarity, visibility, honesty, perfection and cleanliness (Smith, www.sensationalcolor.com). The myth
of white as the symbol of purity stems from the Ancient Greece where it was the colour of the Gods.
The sacredness of white remains to this day, white being the colour of weddings. White is also the
colour of goodness, peace and moral righteousness. These assumptions are also reflected in
language, in particular in white-colour idioms. For examples:
'white magic' and magia bianca indicating a type of magic performed with the intent of doing good;
'white flag' and bandiera bianca indicating a peaceful acceptance of defeat and surrender;
'white Christmas' and bianco Natale meaning a magic Christmas covered in snow.
The two languages also present some peculiar idioms, which do not have a direct equivalent or no
equivalent at all in the other language. This is the case of the English 'white lie', which does not
have an exact Italian bianco equivalent. However, there exist an Italian idiom meaning a lie told to
be polite and not to upset (Cambridge online dictionary, www.dictionary.cambridge.org), that is
bugia a fin di bene (lie with good intent). Another example is the Italian mosca bianca (white fly).
Since white flies are very rare, the expression stands for something hard to come by and unique. Its
English equivalent has no white in, but it is an idiomatic expression: 'hen’s teeth'. A bit more
problematic is the Italian settimana bianca - literally white week, that is to say a holiday in a ski
resort - which has no idiomatic English equivalent. Lastly, a worth mentioning idiom is the Italian
dare carta bianca whose English equivalent is a loan from French: 'to give carte blanche'. They
both mean giving complete freedom to someone and allowing them to write their own rules. Philip
suggests that the English language employs a French expression since “this meaning does not
appear to be connected to the connotative meanings of white” thus French serves to avoid “the
possibly inappropriate translation with a colour word” (2006: 76).
However, it is interesting to point out that in Italian white is polysemous and does not exclusively
connote virtues. In fact, in some idiomatic expressions, such as matrimonio in bianco, passare una
notte in bianco, and andare in bianco, it assumes a negative tone. The apparent positivity of bianco
is reversed and the term is used with negative connotations. If in English, the expression 'white
wedding' stands for a traditional and sumptuous wedding, the same cannot be said for its Italian
equivalent matrimonio in bianco, which describes an unconsumed and unhappy marriage (ibid: 76).
While the idiom passare una notte in bianco means having a sleepless night. The expression finds
its origins in Mediaeval times when men, in order to become knights, had to spend the night prior to
their knighting ceremony in prayer and meditation. They dressed in white to symbolise their moral
integrity (Zingarelli, 2001: 1118). Andare in bianco means to fail in your goal. In this idiom white is
synonymous of nothingness (Vocabolario Treccani online, http://www.treccani.it/vocabolario/).
The expression 'white elephant' is the only case where white assumes a negative and disapproving
meaning in English. This idiom indicates something that is overly costly and of questionable utility
(Philip, 2006: 77).
3.3 Black
Black is the extreme opposite of white both in the colour-spectrum and in colour figurative
meanings. Black entails darkness, absence of light and night. As a result, this colour is associated
with fear of the unknown, secrecy, dishonesty and evil (Smith, www.sensationalcolor.com). Black is
also the colour of mourning and death. Therefore, it should not come as a surprise that idioms
dealing with black have negative connotations both in English and in Italian.
Since most ill deeds occur at night, which is usually associated with black, this colour has become
the symbol of illegal activities or dealings. Hence, the expressions 'black market' and mercato nero,
and by extension the Italian idiom – which has no direct black English equivalent- lavorare in nero,
that is to say to work without a legal contract or paying taxes (Philip, 2006: 73).
Humour is positively connoted in the two cultures studied, unless it involves sinister and malicious
undertones that usually refer to death. In this case, English and Italian speakers use the disapproving
terms of 'black humour' and umorismo nero (ibid: 73) Black is also the colour of evil and of
supernatural. Therefore, if 'white magic' is pure and performed to do good, 'black magic' or magia
nera aims at causing harm, distress and misery (ibid:74). People who act suspiciously or
maliciously and look dangerous and menacing to others acquire black as an attribute: 'bête-noire' in
English and bestia nera in Italian. 'Black sheep' and pecora nera for the person who has brought
embarrassment or shame to the family (ibid: 74).
Italian, differently from English, uses nero to describe the section of newspapers consisting of
murder and other serious offences: cronaca nera (crime news). Black also recurs in expressions
such as miseria nera, fame nera and crisi nera (extreme misery, extreme hunger and severe crisis)
to stress the severity of certain situations and to highlight the fact that death might just be around
the corner (Sabatini, Coletti, www.dizionari.corriere.it ).
Typical English idioms with no direct nero Italian equivalent are 'the pot calling the kettle black'
and 'as not as black as s/he is painted'. Again, black stands for badness and negativity. The former
idiom, which finds its Italian equivalent in the idiomatic expression il bue che dà del cornuto
all’asino, is used when the accuser is reminded to consider his or her actions before criticising
others since he / she is no better person, in fact they are both black. The latter, means that a person
is not as bad as is said to be (Philip, 2006: 74). This expression has no fixed equivalent in Italian.
The combination of black and white in the same idiomatic expression produces an idiom with a
remarkable meaning. This is the case of 'put down in black and white' and mettere / scrivere nero su
bianco whose meaning does not entail badness and goodness but authority. In other words, if
something is put down in black and white or messo nero su bianco is written in an official,
authoritative and unquestionable way, usually contracts, deals and agreements fulfil these
requirements (ibid: 74).
3.4 Red
Red is an extremely interesting colour as far as colour figurative meaning is concerned. It is a
complex colour, rich in symbolism and particularly favoured in the coining of metaphorical idioms
in English. First, red is universally associated with blood. Since blood is synonym of life, red has
become the colour of life and by extension of passions and emotions. Thus, red represents love,
seduction and desire. Second, red is the colour of fire which symbolises life as well as force,
violence, rage, war and destruction. As a result, red is the colour of extremes: burning desires,
intense passions, love and life on the one hand, and violent impulses and wrath on the other. Lastly,
red is a sign of provocation and revolutions (Morton, www.colormatters.com).
The vast array of symbolic meanings of this colour has made language particularly abundant in red
colour idioms. English and Italian employ red when referring to emotions such as anger,
embarrassment and shame. If a person is embarrassed, they are 'red in the face' or 'go as red as a
beetroot' or diventare rosso. Anger can make a person lose its temper and 'see red' or vedere (tutto)
rosso (Philip, 2006: 78). An interesting case is brought by the idiom 'to be red with anger / rage', the
Italian language offers two possible equivalents: rosso di rabbia and nero di rabbia (“black with
anger”). Philipp remarks, “data shows that rosso di rabbia is in fact less common than nero di
rabbia”(ibid: 78). Accordingly, both English and Italian express embarrassment and shame through
red, but when it comes to anger things are a bit more complicated, since Italian colours this
sentiment red and black, while English exclusively red.
English speakers also attribute anger, and therefore red, to animals. In particular, in the animal
kingdom red stands for the brutality and violence required for the survival of the fittest. Hence, the
idiom 'red in tooth and claw', where red is also a stark reminder of blood. According to tradition,
bulls are believed to get angry at the sight of the colour red, consequently if someone might react
violently to a situation, it is said that it 'is like a red rag to a bull' or 'like a red flag before a bull'.
These expressions have no colour-word Italian equivalent (Gulland & Hinds-Howell, 2002: 2).
Extreme anger and the intent to murder someone lie at the origin of the idiom 'catch someone redhanded'. Bloody hands serve as evidence of the vicious crime committed. However, this original
meaning is now lost as the idiom can be used to refer to any illegal or wrong activity. Additionally,
it is not used to talk about murder or bloodshed. The Italian idiom cogliere /prendere con le mani
nel sacco (catch with one’s hand in the bag or 'to catch somebody in the act') reflects the pragmatic
meaning of the English idiom to catch red-handed and their contexts of usage are similar. Cogliere
con le mani nel sacco is usually used when referring to minor offences, especially to theft. For more
serious crimes like murder, native Italian speakers tend to prefer the formal expression cogliere in
flagrante, just like English speakers would opt for 'to catch someone in flagrante delicto' (Philip,
2003: 167-171). It is interesting to point out that flagrante derives from the Latin word flagrans –
antis, the present participle of flagrare meaning to burn. Therefore, the term was originally
connected to fire and to the colour red.
Red is the second most visible colour after yellow. It can strike observes’ attention and capture it.
For this reason, warning sights and fire engines are red in both cultures (Morton,
www.colormatters.com). The great visual impact of the colour as a sign of danger has originated
some fixed colour metaphors such as: 'red flag' and bandiera rossa; 'red alert' and allarme rosso;
and linea rossa (meaning hot-line). All three expressions convey the meaning of immediate danger
and urgency (Philip, 2006: 80).
The Italian expression bandiera rossa has two meanings worth noticing. The first is the one
discussed above; the second is the icon of the Communist flag. Itten (1961: 134) observes that red is
the colour of revolutions since it summaries in itself the essence of rebellion: collective anger,
political fervour and spilled blood. Camicie rosse (red shirts), a metaphorical way to refer to
Communists, are the opposite of the infamous Fascist camicie nere (black shirts). Fascists wore
black shirts as part of their uniforms. These two metaphors stem from Italian history and therefore
find no equivalent in the English language (Philip, 2006: 80).
Red also means life, enjoyment and positivity. If someone goes out to 'paint the town red', they
intend to celebrate in pubs and clubs. The positive connotation of the colour is also found in the
proverb 'red sky at night, shepherd’s delight' or rosso di sera bel tempo si spera. Although the
proverb is mainly based on observation of meteorological phenomena, red appears as a positive
element anticipating good weather.
'To roll out the red carpet' and stendere il tappeto rosso confer to red importance and royalty. The
two idioms mean to give a guest a special treatment since red carpets are rolled out to royals
(Cambridge online dictionary, http://dictionary.cambridge.org/it/). Red is in English speaking
countries, and particularly in the United Kingdom, the colour of bureaucracy as exemplified by 'red
tape'. In this context, however, red assumes a negative connotation as a criticism to unnecessary and
extremely complicated rules. This red-expression “refers to the pinkish-red ribbon which is
traditionally used to bind official documents” (Philip, 2006: 80). Similarly, 'to be in the red' and
essere in rosso are also metonymically motivated. In finance credits are written in black ink
whereas debits in red. As a result, if you are in the red o in rosso, you are in debt. However, essere
in rosso is mainly used to refer to bank accounts; in every day conversation, Italian speakers prefer
essere al verde (Vocabolario Treccani online, http://www.treccani.it/vocabolario/).
3.5 Green
Green is the colour of Mother Nature, landscapes and countryside. In ancient times green
symbolized growth, energy and birth. For this reason, woods and trees were worshipped and treated
as gods. Tree symbolism developed, giving trees mystical and magical powers. They stood for
wisdom, beauty, strength and eternal life, and their fruits represented birth (Skuza, 2010: 236).
Hence, green has long been considered a positive or even lucky colour since it was a synonym of
fertility. (Morton, http://www.colormatters.com./).
Green has maintained its iconic meaning over the centuries and has become the symbol of ecology,
environmentalism and sustainability. This is why green or verde appears in environment related
issues: 'green policies' (another term to refer to environmental policies), Greenpace (an NGO
environmental organization founded in Vancouver in 1971), 'green audit' (an official examination of
the effects a company or other organization has on the environment), i verdi (an Italian political and
environmentalist party).
Green or verde also comes in expressions less politically connoted such as zona verde, polmone
verde and 'green belt'. Zona verde indicates the parks and green areas of a town or city. Trees, parks,
woods and forests are polmone verdi - literally green lungs- (Skuza, 2010: 237). The 'green belt' is
according to Cambridge dictionary “a strip of countryside around a city or town where building is
not allowed”. The association of green with plants is salient in the idioms 'to have green fingers' or
'to have a green thumb', in American English and avere il pollice verde, which all describe people
who
have
a
special
ability
in
cultivating
plants
(Cambridge
online
dictionary,
http://dictionary.cambridge.org/it/).
Spring is the time of the year when trees blossom and vegetation is lush. Consequently, green is also
associated with youth. This meaning of green can be found in the Italian idioms anni verdi (green
years) and verde età (green age) and in the English 'to be green', which is used to refer to someone
young and inexperienced. This expression, however, derives from green wood rather than from the
link between spring and youth. Green wood is very supple and flexible just like inexperience youths
are (Philip, 2006: 83).
In Italian, money is green due to the colour of dollars, which in gangster movies is called verdoni
(Skuza, 2010:236). In spite of green being the colour of dollars, if you are al verde, you are broke.
The expression might have originated in the Renaissance in Florence. At that time, it was custom to
light a candle, which was green at the bottom, during public auctions. The candle was used to
measure time: when the flame reached the green end of the candle, no more money could be offered
and the auction closed (Enciclopedia Treccani online, http://www.treccani.it/).
Green is also the colour of emotions. According to Hippocratic medicine the bile, yellowish-green
in colour, was responsible for human temperament. From this old theory and the metonymic
connection between green / yellow and bile, derive three Italian idioms dealing with anger and rage,
verde di bile, verde di rabbia and verde di collera; and envy, verde di invidia. The English language,
on the contrary, does not associate anger with green (cfr. Section 3.4), but it does associate it with
envy and jealousy, as exemplified by 'green with envy' and by the proverb 'the grass is always
greener on the other side (of the fence)' or l’erba del vicino è sempre più verde. Green became the
colour of envy in the 16th century thanks to the green-eyed monster in Shakespeare’s Othello and it
replaced yellow, the traditional colour of jealousy (Philip, 2006: 82-83).
3.6 Yellow
Yellow is by far the most visible and luminous colour of the colour-spectrum capable of capturing
people’s attention. The human eye processes this colour before any other; this is why some
cautionary signs, for instance the 'slow' sign, and parts of ambulances are yellow in the United
States (Morton, http://www.colormatters.com./).
Despite the fact that yellow is the colour of the Sun, sunshine and, by extension, of happiness,
language is particularly poor in yellow-colour idioms. There are two main reasons to explain the
considerable lack of yellow idioms both in English and in Italian. First, due to the affinity of yellow
to gold and due to the greater monetary value of the latter, positive figurative meanings are attribute
to gold instead (Philip, 2006: 81). Hence, we speak of someone kind and generous as 'a heart of
gold' or cuore d’oro. If we are given a favourable opportunity that might never come again, we
colour it in gold: 'a golden opportunity' or un’occasione d’oro (Cambridge online dictionary,
http://dictionary.cambridge.org/it/). Second, most of yellow negative connotations, which derived
from its metonymic connection to the bile, have been transferred to green (Ibid).
In English yellow is only associated with cowardice: 'to be yellow-bellied' and 'to have a yellow
streak' (Gulland & Hinds-Howell, 2002: 5). These expressions are not accounted for in Italian with
a direct giallo equivalent but with the idiom non avere il fegato (not have the stomach for).
In the Italian culture and language alone, yellow is the colour of detective stories. The association of
yellow and mystery originated in the Twenties when the publishing house Arnaldo Mondadori
produced a collection of mystery novel, Il Giallo Mondadori, whose peculiarity was the yellow
cover. These novels were so popular that the colour giallo became the icon of the genre as a whole.
Therefore, a libro / romanzo giallo, or simply a giallo, is a detective story, and a film giallo is a
thriller. Giallo also defines unsolved mysteries involving murder cases, this use of the term is
common in mass-media (Philip, 2006: 83-84).
3.7 Blue
Blue is by far the most favourite colour by men and women as shown by the Blue Phenomenon.
This term refers to the tendency of people to write down or think of blue when they are asked to cite
the first colour that comes to their mind. This funding is particularly true for English-speaking
countries, Japan and Kenya (Wiegersma & Van Der Elst, 1988: 308). One possible explanation of
the Blue Phenomenon could be found in the values associated to the colour, namely constancy and
calm being blue the colour of the sky and oceans (Smith, http://www.sensationalcolor.com/).
As far as English and Italian are concerned, blue is the most interesting colour to analyse for the
numerous differences in the colour metaphorical and figurative meanings. First, Italian divides the
blue colour-spectrum in a more detailed and precise way than English does. Consequently, there are
three basic terms for blue: blu, azzurro (light blue) and celeste (sky blue). This characteristic of
Italian, and of other Latin languages, is often set forth in order to show some shortcomings of Berlin
and Kay’s study (1969), which is accused of being too Westernised and English-centred in its
approach (Lucy, 1992: 186). As a result, while in English blue is both the colour of the sky and of
the sea, and of their relating metaphors, in Italian the sky is azzurro or celeste and the sea blu, and
so are their metaphorical meanings. Celeste is also expression of the divine and heaven (Philip,
2003: 11).
Second, due to the close connection between azzurro and celeste to the sky, the home of God, in
Italian these colours are synonyms of divine, spirituality and eternal bliss. In Christian iconography,
azzurro and celeste are the colours of the Virgin Mary’s mantle, since they were traditionally
associated with purity, spirituality and peace (Skusa, 2010: 231-32). The Italian language reflects
the sacredness of celeste in numerous religious Christian metaphors. English, on the contrary,
makes use of the adjective 'heavenly' or of the noun 'heaven', since blue does not have any religious
connotation in this language. For example, il Padre Celeste (Heavenly Father), il Regno Celeste
(Kingdom of heaven), la gloria celeste (heavenly glory) and le Schiere Celesti (Heavenly hosts).
Third, blu and azzurro usually convey positive meanings in Italian, contrary to English where blue
is negatively connoted. Hence, Prince Charming, the handsome and kind-hearted prince of fairy
tales, who embodies the perfect partner, is called Principe Azzurro (light blue prince). The only case
of similarity between the two languages is avere il sangue blu and 'blue blood', which means to
belong to an aristocratic family. This expression seems to have originated from the practice of
aristocrats to avoid exposing themselves to the sun. In the past, having white or even pale
complexion was a status symbol as well as a sign of beauty and well-being. Aristocrats were not
tanned because they did not have to work outdoors under the sun, in order words they were not
peasants. The whiteness of their skin made the veins look darker, bluish in colour as if their blood
was not red but blue (Skuza, 2010: 232).
Forth, in English blue connotes negative feelings such as depression and fear, and unpleasant
situations. Italian does not attribute these meanings to blue, therefore there are no direct blue
equivalent for this set of English idioms. One example of an undesirable situation is expressed by
'to be caught between the devil and the deep blue sea', which refers to finding oneself in a risky
situation where both choices are equally inconvenient. The Italian equivalent is essere tra l’incudine
e il martello (literally to be between the anvil and the hammer, or 'to be struck between a rock and a
hard place'). The Italian expression has similar pragmatic effect but no connotative value (Philip,
2006: 85). Blue is also sadness in English, hence the idioms 'to have the blues' and 'to feel blue'.
Italian associates depression and desperation with black / nero instead (ibid: 74). Nero is found in
expressions such as: un periodo nero, a bad period; pensieri neri, negative thoughts; vedere tutto
nero (literally to see everything black) meaning being extremely pessimist; similar in meaning is
fare un quadro nero della situazione (to paint a black picture of the situation). In conclusion,
English and Italian attribute to depression different colours, blue for the former and black for the
latter, because the two cultures colour this sentiment differently.
Fear, however, can be expressed by means of blue: fifa blu and essere blu dalla paura although fifa
nera or paura nera are also widely used as emphatic variants. Philip points out that it is uncertain
and arduous to know whether blue is linked to fear also in English since the only relevant idiom is
'to scream blue murder'. Moreover, the colour blue might simply be part of the idiom as a transfer
from the French exclamation sacré bleu (where blue is a corrupted form of Dieu, God); or an
alternative version of the expression a 'bloody' murder, in this case blue is used because
phonetically linked to the adjective (ibid: 85-86).
Fifth, the English blue also connotes unexpected events and unwelcome surprises: 'like a bolt from
the blue' or simply 'out of the blue'. These idioms stem from the image of a calm and clear sky
which is suddenly and unexpectedly troubled by a bolt of lightning. Italian conveys the same
concept with the colour white: di punto in bianco (ibid: 84). Similarly, blue also recalls very rare,
unusual and noteworthy events, extraordinary things that happen 'once in a blue moon'. Again,
Italian has no blue equivalent but expresses the same concept with the idiom ogni morte di Papa
(i.e. every death of a Pope).
Lastly, although red is associated with romance and love in both languages, pornography is blue in
English while it is red in Italian. Consequently, the two languages speak of 'blue films' and film a
luci rosse.
3.8 Brown
Brown has a close connection to the earth and soil; consequently, it encapsulates “stability,
reliability and approachability” (Smith, http://www.sensationalcolor.com/), but also dirt and
excrement (Philip, 2006: 88). Despite its link to earth – traditionally associated with prosperity,
growth and wisdom- the colour has very little symbolism and it is remarkable to notice that the few
English idioms containing brown are usually negatively connoted (Gulland & Hinds-Howell, 2002:
8).
Brown does not only convey negative meaning, but it also expresses extreme and redundancy. This
is the case of the idiom 'to be browned off' which expresses utter boredom. 'A brownfield site' is an
area “occupied by redundant warehouses and factories” (ibid: 8); and of 'to brown-nose' that it to
say to fawn over someone in order to gain an advantage (ibid: 8). On a less negative tone, there is
the idiom 'to be in a brown study' that describes someone who is distracted and unaware of what
surrounds them (Cambridge online dictionary, http://dictionary.cambridge.org).
As far as Italian is concerned, there are no metaphorical brown idioms (Philip, 2006: 88).
Consequently, the very few brown-idioms that exist in the English language have no direct
correspondence in Italian.
3.9 Pink
Pink is the product of red and white, thus it stands midway between these two colours both on the
colour spectrum and in colour symbolism. White attenuates the fiery passions evoked by red,
therefore romanticism and flowers pertain to pink. Pink is also associated with youth, fun and
excitement. Accordingly, it is a positive colour, synonym of happiness. By extension, pink refers to
good health and perfect physical conditions (Philip, 2006: 86).
The symbolic meanings of pink are expressed in numerous English idioms that have no pink
equivalent in Italian. These are: 'to be tickled pink' - i.e. to be very much amused, 'in the pink' or 'the
pink of condition' - i.e. in excellent health and at peak fitness, and 'the pink of perfection' - i.e. sheer
perfection to the smallest detail (Gulland & Hinds-Howell, 2002: 9). 'To go pink (in the face) '
shows milder embarrassment than 'go red'. This is a perfect example of how “the tempered colour
reflects the tempered emotional state” (Philip, 2006: 86). Interestingly, diventare rosa does not exist
in Italian despite the correspondence between go red and diventare rosso (cfr. Section 3.4).
Italian expressions with pink or rosa mainly deal with being optimistic as shown by the expression
vedere tutto rosa, similar in meaning to the English 'to see something through rose-tinted glasses'
(Philip, 2006: 87). Both expressions refer to positivity and to giving importance to the pleasant
aspects of the life, for this reason it can be argued that vedere tutto rosa is the opposite of vedere
tutto nero (c.f. section 3.7). Rosa also identifies romantic fiction as a genre: romanzo rosa, libro
rosa and letteratura rosa, just like giallo refers to detective stories (c.f. section 3.6). From
letteratura rosa derives a journalistic genre that focuses on celebrity gossip: cronaca rosa (c.f.
cronaca nera section 3.3). Cronaca rosa looks for scandals in order to reveal a scandalo rosa. These
examples of rosa are peculiarities of the Italian culture and therefore have no English equivalent.
3.10 Grey
Grey sits between the extremes of black and white. Together with pink, it is an example of tempered
colour that conveys milder meaning than those that originated it. In grey the negativity of black is
softened and the clarity and immaculateness of white is obfuscated. Therefore, symbolically
speaking, grey is the colour of compromise and indeterminacy (Philip, 2006: 77). This sense of
obfuscation and uncertainty is reflected in 'a grey area', i.e. something unclear, undetermined and
hard to interpret. Likewise, a person who exerts power over rulers behind the scenes and sometimes
with the intent of gaining personal advantage is 'an eminence grise' in English or un’eminenza
grigia in Italian (ibid: 77).
In Italian grey expresses disinterest and tediousness: una vita grigia (a grey life), un’esistenza
grigia (a grey existence), and a boring and cloudy day is a giornata grigia. Grigio stands for
economic hardships and financial worries as shown by the expression la situazione è grigia or una
situazione grigia. Similarly, 'a grey mood' is an unhappy one. These examples prove that negative
expressions containing nero, such as un periodo nero, una situazione nera, pensieri neri etc., can be
attenuated by grigio to express dullness rather than depression: un periodo grigio, una situazione
grigia, pensieri grigi. As for 'a grey mood', it is a more attenuated feeling than 'a black mood'.
Consequently, it is evident that the expressions involving grey or grigio can be worsened by the use
of black or nero (Philip, 2003: 208-211).
Grey is associated with oldness in both cultures due to the metonymic relation between grey hair
and age. However, Italian lacks of grey-age idioms. English, on the contrary, speaks of 'a greybeard', 'grey power' and 'grey pound'. The first expression is used in a derogatory sense to refer to
old men, while the last two highlight the wealth acquired in a lifetime. 'Grey power' describes
“prosperous elderly retired people who have enough money to be able to afford private medicine
and holidays and to live a life without financial worry” (Gulland & Hinds-Howell, 2002: 9).
Similarly, 'the grey pound' refers to elderly people having the opportunity to spend money on
themselves (ibid: 9).
The only instance in which grey is positively connoted in both languages is in the expression 'grey
matter'
or
material
grigia,
http://www.sensationalcolor.com/).
synonym
of
intelligence
and
wit
(Smith,
3.11 Purple and orange
In ancient Rome, purple was the colour of high rank and influential people. Only emperors, consuls,
magistrates and generals could afford purple robes obtained from costly dyestuffs. The notion of
wealth, sumptuousness and royalty can still be found in the idioms 'to be born in / to the purple',
meaning to be the child of a king, and in 'to marry into the purple', meaning to marry a king or a
prince (Gulland & Hinds-Howell, 2002: 9). However, if a piece of writing is too florid and
excessively ornate is referred to as purple: 'purple passage', 'purple prose', 'purple patches'.
Italian has no purple idioms maybe because viola is considered unlucky in Italy being it associated
with the Christian Passion and death. This colour is particularly unlucky for theatre actors. In fact,
in the Middle Ages, theatrical plays were banned during the Lent period, as a result actors were
unemployed and suffered considerable economic distress (Focus.it http://www.focus.it/cultura).
Orange is a controversial colour: people usually either love it or hate it since it can symbolise heat,
health and adventure but also abrasiveness and brass (Morton, www.colormatters.com).No orange
idioms have been identified in English or Italian (Philip, 2006: 88).
4.0 Case study: the Lion King
The Walt Disney’s animated film The Lion King (1994) provides a representative example of the
missing correspondence in blue figurative meaning in the two languages and cultures under
examination. In English blue is the symbol of sadness and depression, which is not the case in
Italian, blue being a positively connoted colour. Since blue does not convey anguish in Italian, (cfr.
section 3.7), the Italian version of Il Re Leone recurs to black / nero in order to express the same
figurative meaning. This is an example of partial correspondence: the two languages convey the
same meaning by means of a different colour.
The young lion Simba, son of King Mufasa, has just witnessed his father’s death. The evil Scar
manipulates him to believe he was responsible for his father’s passing, thus forcing Simba to flee
into exile in shame and despair. It is at this point that he meets Timon and Pumbaa.
Timon : He (Simba) looks blue
Timon:
Pumbaa: I’d say brownish gold
Pumbaa: A me sembra marrone chiaro
Timon:
No, no, no…I mean he’s depressed
Pumbaa: Oh!
Timon:
Ehi, è proprio nero
No, no, no intendevo depresso
Pumbaa: Ah!
The scene is humorous in both languages because Pumbaa interprets Timon’s remark literally,
saying that Simba is not blue or nero but brownish. This joke highlights a salient aspect of idioms:
their opacity, i.e. their “compositional decoding and interpretation […] are practically or completely
impossible without knowledge of the historical origins of the expression” (Moon, 1998: 23).
Consequently, idioms cannot be literally understood (cfr. section 3.1).
5. Conclusion
In conclusion, colour idioms are the product of a given language and culture. They are fixed
expressions that relate to colour symbolism, connotation and metonymy. Therefore, they are
culturally motivated and reflect into language the beliefs, customs and superstitions of a people.
Some colour idioms, such as 'green with envy', originate from literary works, other from historical
practises like essere al verde, and other from society, marketing or objects that have made the
history of a country just like un romanzo giallo.
From the contrastive analysis of English and Italian colour idioms, it can be argued that despite the
fact that English and Italian are not two distant cultures, several differences occur in colour
idiomatic language. These differences result either in idioms with no fixed idiomatic equivalent in
the other language such as vedere tutto nero, 'to be tickled pink' and settimana bianca, or in idioms
that colour the same idea or sentiment differently such as 'out of blue' and di punto in bianco and 'to
feel blue' and essere nero. There are also instances in which the other langue does not use a colour
idiom to express the same idea: 'once in a blue moon' and ogni morte di Papa, 'the pot calling the
kettle black' and il bue che dà del cornuto all’asino, and 'to be caught red-handed' and prendere con
le mani nel sacco.
Particularly interesting major differences can be found in white, yellow and blue. White is always
positively connoted in English ('white lie', 'white magic') while in Italian it can also express
negativity (passare una notte in bianco, andare in bianco, matrimonio bianco). Yellow stands for
cowardice in English ('to be yellow-bellied' and 'to have a yellow streak') and for mysteries in
Italian (un giallo), consequently there are no direct yellow or giallo equivalent idioms in the two
languages because they do not attribute to this colour the same symbolism. Blue is the most
problematic colour for these two languages and cultures. Italian, contrary to English, distinguishes
the colour-spectrum in three blue terms (blu, azzurro and celeste) and attributes to them specific
metaphorical meanings. The Italian blue is a sacred and pure colour representing God and good
virtues such as consistency and loyalty, the English blue on the other hand is negatively connoted
and deals with unwelcome surprises, undesirable situations and depression.
Pink, together with yellow, is another example of missing correspondence because the two
languages do not attach the same figurative meaning to the colour. Pink stands for health, perfection
and happiness in English ('to be tickled pink', 'in the pink' and 'the pink of condition') and for
optimism and romantic fiction (vedere tutto rosa, un romanzo rosa) in Italian.
Consequently, these differences in colour idioms prove once again how culture affects language and
how language influences people’s experience and perception of the world and reality.
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Films
The Lion King (Rob Minkoff & Roger Allers, 1994)
Il Re Leone (The Lion King Rob Minkoff & Roger Allers, 1994)
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